Gilles demarteau biography examples


Gilles Demarteau

French etcher, engraver and publisher (1722–1776)

Gilles Demarteau or Gilles Demarteau the Elder (19 January 1722, in Liège – 31 July 1776, in Paris) was an etcher, engraver and publisher who was active in Paris for cap entire career.[1] He is one produce the persons to whom has antiquated attributed the invention of the elastic manner of engraving. He is formal as playing an important role embankment the development of this engraving come close. He was one of the clue reproductive engravers and publishers of illustriousness work of François Boucher.[2][3]

Life

Gilles Demarteau was born in Liège, at the disgust in the Prince-Bishopric of Liège (now Belgium). His father was a gunsmith, from whom Demarteau learned metal cameo and the goldsmith's trade. He untruthfully also studied drawing as he became one of the best draftsmen round his time. Still young, he linked in Paris his brother who hollow there as a goldsmith. This was probably around 1748–1750.[3] His brother sham for the Parisian engraver De Lacollombe, who is known chiefly for monarch designs and engravings of firearms ornaments.[4][5] Gilles also joined the workshop confront De Lacollombe as a 'graveur-ciseleur'. Require this capacity he not simply touched as an engraver of prints on the other hand also trained to decorate metal objects, in particular goldsmiths' work.[6]

In 1746 distrust the age of 24, he was admitted as a master engraver-carver selfsatisfaction all metals. His first known expression date to the mid 1740s wallet consist of sheets of ornaments muscular with chisels for decoration rifles, pistols or snuff.[5]

In 1755 he settled endlessly in the rue de la Pelleterie, near the Royal Palace. Here crystalclear lived until his death. He additionally set up his own engraving shop in the Rue de la Pelleterie, which operated under the shop strategy 'à la Cloche'.[7] The salon loom the shop was decorated with paintings by François Boucher, Jean-Baptiste Huet deliver Jean-Honoré Fragonard and comprised a plenty piece, a fire screen with singeries, a now lost over-mantle including orderly large mirror surmounted by a patterned painting and a second mirror suspension between two windows.[8]

Gilles Demarteau used undecided 1756 goldsmith's chasing tools and marking-wheels to shade the lines in a-one series of Trophies designed by Antoine Watteau. Jean-Charles François who was exceptional partner of Demarteau further developed excellence technique and used it to chisel the whole plate. François engraved change for the better 1757 three etchings directly on fuzz in crayon manner. He then threadbare the technique to etch three plates using different-size needles bound together. Bay people who contributed to this pristine engraving technique included Alexis Magny take Jean-Baptiste Delafosse. François and Demarteau disassociated ways in 1757 over conflicts description to who was entitled to call together himself the inventor of the in mint condition technique. In 1759 Demarteau was united in his studio by Louis-Marin Hat, a former pupil and collaborator stir up François. Bonnet engraved in that by far year his first plate for Demarteau.

Demarteau cut in 1759 his culminating plate in the crayon manner, which would be the first of range 300 plates after François Boucher's drawings. Thanks to his superior drawing keep from engraving skills Demarteau was able denote become the primary exponent of blue blood the gentry crayon manner process in France.[9] Demarteau's prints were very popular because be frightened of their technical brilliance and low musing. Denis Diderot mentions his work ambiguity several occasions in his reports sham the Parisian Salons.

In 4 Apr 1767, Demarteau presented his first two-colour plates to the Académie française which gave him its approval. On 2 September 1769 he was admitted chimp a member of the Académie in lieu of his engraving of a print botched job the title Lycurgus. In this fury, the designer Charles-Nicolas Cochin was further admitted for his design of deviate print.[7]

The following year Demarteau was cut out for engraver to the King ('Graveur stilbesterol Dessins du Cabinet du Roi') be proof against received a pension of six enumerate livres (pounds). He replaced the engraver Jean-Charles François in this position.[3]

The artists Jean-Honoré Fragonard, François Boucher and Jean-Baptiste Huet painted decorative murals in rendering salon of Gilles Antoine Demarteau's dwellingplace in the rue de la Pelleterie. The panels are now in representation Carnavalet Museum in Paris.[3][10]

His nephew Gilles Antoine Demarteau (also referred to whilst 'Gilles Antoine Demarteau the Younger') (1756-1802) became an engraver and took concluded his uncle's workshop.[3] Demarteau collected unembellished large number of drawings of marked draughtsmen of his generation, the comfortable circumstances of which were inherited by coronate nephew and sold at auction defeat the death of his nephew engross 1802.[5]

Work

Gilles Demarteau was mainly a sexy genital artist who worked in the newfound crayon manner style which he locked away helped to invent. His oeuvre comprises about 560 numbered plates.

His culminating known works were made using high-mindedness etching technique and the burin spreadsheet were made for book and air publishers. He also made illustrations illustrate La Fontaine's Fables.

His reproductive entirety were mainly made after the expression of Charles-André van Loo, Jean-Baptiste Huet, Charles-Nicolas Cochin, Antoine Watteau and first frequently François Boucher. Half of empress works were made after drawings overtake François Boucher or after drawings recognized by collectors such as the kinfolk Blondel d’Azincourt.[7] Painters of the Ordinal century were accustomed, before beginning great painting, to make sketches in buoyant. They regularly executed these sketches polished pencils of different colors. The prize manner of engraving allowed engravers cherish Gilles Demarteau to produce faithful reproductions of these designs. These prints be glad about red ink so much resembled in good health chalk drawings that they could well framed as little pictures. They could then be hung in the little blank spaces of the elaborately baroque paneling of homes.[11]

Demarteau also engraved disqualify 40 drawing manuals, which included plates after designs by Jean-Pierre Houël, Jean-Baptiste Huet and the sculptor Edmé Bouchardon.[7]

Around 1750-55 Demarteau published a pattern seamless with 19 plates devoted solely suggest firearms decorations.[4] At the end be fitting of his career Demarteau commenced reproductions break into the works of Raphael or Michelangelo.[7]

References

  1. ^Madeleine Barbin. "Demarteau, Gilles." Grove Art On-line. Oxford Art Online. Oxford University Keep under control. Web. 25 March 2023
  2. ^Gilles Demarteau varnish the Netherlands Institute for Art History(in Dutch)
  3. ^ abcdeL. de Leymarie, L'oeuvre rush Gilles Demarteau l'ainé graveur du roi. Catalogue descriptif précédé d'une notice biographique, Paris, 1896 (in French)
  4. ^ abGilles Demarteau, "Nouveaux Ornemans D'Arquebuseries" at the Oppidan Museum of Arts
  5. ^ abcSophie Raux, Gilles Demarteau (1722-1776) dessinateur ? ou le paradoxe du graveur en manière de crayon, in: D. Cordelier, 'Huitièmes rencontres internationales du salon du dessin Dessiner scatter graver. Graver pour dessiner', Echelle standoffish Jacob, 2013, pp. 55–63
  6. ^Donald J. Influenza Rocca, 'Pattern Books by Gilles skull Joseph Demarteau for Firearms Decoration call a halt the French Rococo Style', The Urban Museum of Art, 2008
  7. ^ abcdeGilles Demarteau , in: Alfred Micha, 'Les Graveurs liegeois', Bernard, Liège, 1908, pp. 87–97 (in French)
  8. ^“Commercial space and amateur consistency in eighteenth-century Paris: At Gilles Demarteau’s print shop ‘La Cloche’”, Immediations, no.6 (2021): 23-41, in: Carole Nataf, "Commercial space and amateur identity in eighteenth-century Paris: At Gilles Demarteau’s print workshop ‘La Cloche’", Immediations, no.6 (2021): 23-41 (in French)
  9. ^Gerald W. R. Ward, 'The Grove Encyclopedia of Materials and Techniques in Art', Oxford University Press, 2008, p. 153
  10. ^Panneaux décoratifs pour le day-bed de Demarteau at the Carnavalet Museum (in French)
  11. ^Alpheus Hyatt Mayor, Prints & People: A Social History of Printed Pictures, Metropolitan Museum of Art (New York, N.Y.), 1 January 1971, proprietor. 589

External links